All our ideas come from the changing nature of things, as they form, solidify, and then fade away." (Stefan Budian)
Sometimes people ask me why I don't just paint on the computer when I want to document the process of painting. Wouldn't that be much easier? - I have two reasons. The first is quickly told, for the second I have to elaborate a little:
In reality, it is impossible to undo the past. With virtual tools, on the other hand, it is easy. You simply start over from a previous state.
In the oil painting of "The East of the Wet", every brushstroke is equally important to me. I don't undo or conceal anything from the process. With real painting I make sure of that.
When I started as an artist, most digital things didn't exist. The last 30 years have been a journey into a distant, unimaginable world of technical possibilities. Today it seems as if it has always been there, but these upheavals are still very young. And they are far from finished.
There is currently a lot of talk about "artificial intelligence". "Quantum computing" is approaching application maturity. Soon we will have to talk about a new age again. An age after the digitalisation, today as unpredictable as today's technical reality was 30 years ago.
At that time, my craft as a painter was bound to the media of material substances. I developed my artistic position in them. I came from the reality of oil paint, brush and canvas. Now I stand in the advancing virtualisations that surround us all.
As an artist, I want to keep this horizon between past and present stretched out within me. That's why I stick to oil paint. Even if that means taking more elaborate paths. Later generations will no longer be able to do this as a matter of course. Because, more and more, the exclusivity of the material world becomes a mere cultural memory.
I think this also explains why I merge my analogue and my virtual workshop in the Drawprints.